North Sentinel Island, part of India’s Andaman and Nicobar archipelagos in the Bay of Bengal, sits just 25 miles off the coast of South Andaman Island and 30 miles away from its developed, globally connected provincial capital of Port Blair. About 28 square miles of forest, the island is roughly one-fifth larger than Manhattan. All of the other islands in the chain have been explored and their respective native peoples have developed relations with the central government, but no outsider ever sets foot on North Sentinel Island. In fact, New Delhi has set up a three-mile exclusion zone around the island to protect its inhabitants, known as the Sentinelese, who through violent seclusion have remained possibly the most genuinely isolated peoples in the world, likely for thousands of years. And in their isolation, they provide a stark and illuminating contrast with other societies.

The Sentinelese are one of about 100 uncontacted tribes left in the world, most of which live clustered in remote West Papua and the Amazon rainforests of Brazil and Peru. But many of these other uncontacted tribes are not totally isolated, as cultural rights organization Survival International points out, over time, most peoples will learn something about their modern neighbors no matter what. However, many uncontacted tribes, either due to past atrocities visited upon them or a lack of interest in what they see of our modern world, choose to remain disengaged. They’re not “pristine” or primitive peoples, but rather shifting and dynamic cultures that preserve unique languages, systems of knowledge, and skills. And because they are not completely separated, they’re often subject to those who wish to contact them, either to attempt to evangelize and modernize them, or even eradicate them to clear land for development. As such, the Sentinelese are unique even among uncontacted tribes in their isolation from other cultures and external threats.


This doesn’t mean that no one has ever run into the Sentinelese. People have been traveling to the Andaman Islands for at least 1,000 years, and the British and Indians actively colonized the region starting in the 18th century. On most of the islands, even the most remote tribes have been contacted within the last century and tribal members have become involved with the larger nation, even taking up posts in the government. And despite laws restricting access to traditionally tribal lands in the 1950s, contact and development still continued illicitly in most of the archipelago. Yet no one has ever managed to gain a foothold on North Sentinel because the peoples there, throughout recent history, have responded to intruders with extraordinary force. One of the first recorded encounters with the locals of the island involves an escaped Indian convict who washed up on their shores in 1896. He was discovered abandoned on the shore shortly after with his throat sliced, riddled with arrow holes. The fact that even neighboring tribes consider the Sentinelese language utterly incomprehensible suggests that they have maintained this hostile isolation for hundreds or maybe even thousands of years.

India tried for many years to contact the Sentinelese for various reasons—science, paternalistic-style development, or even the idea that mediated contact was safer than random sailors haphazardly confronting the tribe with violence and disease. But the locals successfully hid from the first major anthropological mission in 1967, and fired arrows at the returnees in 1970 and 1973. In 1974, a National Geographic director took an arrow to the leg; in 1981, a stranded freighter had to fight off the Sentinelese for days before help arrived. Throughout the ‘70s several more individuals were wounded or killed while trying to make contact. Eventually, almost 20 years later, anthropologist Trilokinath Pandit did make tenuous contact several times, having spent years fleeing arrows and leaving gifts of metal and coconuts—he allowed the Sentinelese to undress him and gleaned some basic information about their culture. But recognizing the losses suffered up to that point, the Indian government eventually gave up, ceding to the clear Sentinelese will towards isolation and declaring an official exclusion zone, protecting the tribe’s space.

This might be for the best, given what’s happened to the other tribes in the Andaman Islands since contact. The Great Andamanese, which numbered around 5,000 at first contact, are now just a few dozen after waves of settlement and development. And the Jarawans, first contacted in 1997, lost 10 percent of their population to measles in the first two years of exposure, suffering endemic disease, dislocation, and sexual abuse by settlers and police ever since. Other tribes, like the Onges, suffer from rampant alcoholism on top of the above offenses and indignities—all a common narrative for people whose cultures have been radically shifted and lives upturned by a dominant superpower unilaterally swarming into their territory.

Meanwhile, video of the Sentinelese—200-plus dark-skinned people, decorated with ochre body paint and fiber bands but otherwise naked—taken from helicopters and on early expeditions seems to indicate that the tribe remains healthy and strong. We don’t know much about their daily lives, save what Pandit gathered from his visits and subsequent video from fly-bys. We believe they eat coconuts, cracked open with their teeth, and hunt turtles, lizards, wild game, and small birds with bows and javelins. We suspect they tip their arrows with metal salvaged from shipwrecks, but otherwise lack modern technology, including the knowledge of how to make fire—they preserve embers from lightning strikes instead. We see them living in thatch lean-to huts, making shallow canoes that cannot move into the open ocean, greeting each other by sitting in each other’s laps and slapping their buttocks, and singing in two-note systems. Yet it is entirely possible that all of these observations may just be a flukes or false impressions, given how little hard data we actually have on their culture.

Using DNA from the surrounding tribes and the unique isolation of the Sentinelese language, we suspect that the Sentinelese’s singular genetic lineage could go back as far as 60,000 years. That would make them perhaps some of the most direct and uniquely isolated descendants of the first humans to leave Africa that have ever been located. Any geneticist would give an eyetooth for a chance to look at Sentinelese DNA to better understand the history of the human race. Not to mention the fact that the Sentinelese survived the 2004 Indian Ocean tsunami somehow, which devastated the surrounding islands and wiped out much of their own terrain. They remained unscathed, hiding on higher ground as if they knew the storm was coming, suggesting they retain esoteric knowledge of the weather and environment that we could possibly learn from. All of this is worth protecting and preserving, even if these safeguards ironically mean we will not have access to it as scholars. But if and when the Sentinelese choose to accept contact, then the world at large will surely benefit culturally and scientifically from their previous isolation.

For all of the tribe’s luck and effort in maintaining that isolation, there are disturbing signs that the outside world will soon break through to the island by force. In 2006, two fishermen washed up on shore by accident and were murdered by the islanders, prompting a failed mission to retrieve their corpses—the helicopter was repelled by arrows—and an outcry from mainstream Indians calling for justice against the tribe. And just this year, local authorities admitted that the island’s waters have become attractive to illegal fishermen, and that some may be setting foot on the island, although there’s no indication they’ve contacted the Sentinelese yet. Confrontation appears imminent. When it comes, perhaps the best we can do is prevent the kind of atrocities that may have moved the Sentinelese to violence in the past, and hopefully help them save as much of their unique history and culture as possible in the process.

  • 10 boys and 10 girls were left alone in separate houses and the different results are just wild
    Photo credit: Canva(L) Kids wrestling in the yard; (R) young children playing chess

    It sounds like the plot of William Golding’s Lord of the Flies. However, in the mid-2000s, it was a very real and very controversial reality television experiment.

    Footage from the UK Channel 4 documentary Boys and Girls Alone is captivating audiences all over again. It offers a fascinating and chaotic look at what happens when you remove parents from the equation.

    The premise was simple but high stakes. Twenty children, aged 11 and 12, were split into two groups by gender. Ten boys and ten girls were placed in separate houses and told to live without adult supervision for five days.

    The Setup

    While there were safety nets in place, the day-to-day living was entirely up to the kids. A camera crew was present but instructed not to intervene unless safety was at risk. The children could also ring a bell to speak to a nurse or psychiatrist.

    The houses were fully stocked with food, cleaning supplies, toys, and paints. Everything they needed to survive was there. They just had to figure out how to use it.

    The Boys: Instant Chaos

    In the boys’ house, the unraveling was almost immediate. The newfound freedom triggered a rapid descent into high-energy anarchy.

    They engaged in water pistol fights and threw cushions. In one memorable instance, a boy named Michael covered the carpet in sticky popcorn kernels just because he could.

    The destruction eventually escalated to the walls. The boys covered the house in writing, drawing, and paint. But the euphoria of freedom eventually crashed into the reality of consequences.

    “We never expected to be like this, but I’m really upset that we trashed it so badly,” one boy admitted in the footage. “We were trying to explore everything at once and got too carried away in ourselves.”

    Their attempts to clean up were frantic and largely ineffective. Nutrition also took a hit. Despite having completed a cooking course, the boys survived mostly on cereal, sugar, and the occasional frozen pizza. By the end of the week, the house was trashed, and the group had fractured into opposing factions.

    The Girls: Organized Society

    The girls’ house looked like a different planet.

    In stark contrast to the mayhem next door, the girls immediately established a functioning society. They organized a cooking roster, with a girl named Sherry preparing their first meal. They baked cakes. They put on a fashion show. They even drew up a scrupulous chores list to ensure the house stayed livable.

    While their stay wasn’t devoid of interpersonal drama, the experiment highlighted a fascinating divergence in socialization. Left to their own devices, the girls prioritized community and maintenance. The boys tested the absolute limits of their environment until it broke.

    The documentary was controversial when it aired, with critics questioning the ethics of placing children in unsupervised situations for entertainment. But what made it so enduring, and why footage keeps resurfacing years later, is what it reveals about how kids are socialized long before anyone puts them in a house together. The boys weren’t born anarchists and the girls weren’t born organizers. They arrived at those houses already shaped by years of being told, implicitly and explicitly, what boys do and what girls do. Whether that’s a nature story or a nurture story is the question the documentary keeps asking without quite answering, which is probably why people are still watching and arguing about it nearly two decades later.

    This article originally appeared two years ago. It has been updated.

  • 9-year-old girl asks Steph Curry why his shoes aren’t in girls’ sizes. The response was perfect.
    Photo credit: Wikicommons(L) A young girl's letter to Steph Curry asking about women's shoe sizes; (R) Steph Curry.
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    9-year-old girl asks Steph Curry why his shoes aren’t in girls’ sizes. The response was perfect.

    “… it seems unfair that the shoes are only in the boys,” Riley Morrison wrote, starting a chain reaction of positive change.

    Nine-year-old Riley Morrison from Napa, California is a huge basketball fan. She roots for the Golden State Warriors and her favorite player is four-time NBA champion Steph Curry. Morrison loves to play basketball so she went online to pick up a pair of Curry’s Under Armour Curry 5 shoes, but there weren’t any available in the girls’ section of the site.

    But instead of resigning herself to the fact she wouldn’t be able to drive the lane in a sweet pair of Curry 5’s, she wrote a letter to the man himself. Her father posted it on social media:

    “My name is Riley (just like your daughter), I’m 9 years old from Napa, California. I am a big fan of yours. I enjoy going to Warriors games with my dad. I asked my dad to buy me the new Curry 5’s because I’m starting a new basketball season. My dad and I visited the Under Armour website and were disappointed to see that there were no Curry 5’s for sale under the girls section. However, they did have them for sale under the boy’s section, even to customize. I know you support girl athletes because you have two daughters and you host an all girls basketball camp. I hope you can work with Under Armour to change this because girls want to rock the Curry 5’s too.”

    “I wanted to write the letter because it seems unfair that the shoes are only in the boys’ section and not in the girls’ section,” Riley told Teen Vogue. “I wanted to help make things equal for all girls, because girls play basketball, too.”

    The letter got to Curry and he gave an amazing response on X (formerly Twitter).

    Many might be surprised that a megastar like Curry took a nine-year-old’s letter seriously, but he’s long been a vocal supporter of women’s issues.

    That August, Curry wrote an empowering letter that was published in The Player’s Tribune where he discussed closing the gender pay gap, hosting his first all-girls basketball camp, and what he’s learned from raising two daughters.

    In the essay he shared a powerful lesson his mother taught him. “Always stay listening to women to always stay believing in women, and — when it comes to anyone’s expectations for women — to always stay challenging the idea of what’s right,” he wrote.

    Curry clearly practices what he preaches because when a nine-year-old girl spoke up, he was all ears.

    Steph Curry and Under Armour didn’t just fix the girls’ sizing issue, they launched a special edition Curry 6 “United We Win” co-designed by Riley, created a $30K annual scholarship for girls, and shifted to unisex sizing across Curry Brand shoes.

    Since then, Curry has stayed active in promoting gender equity: he’s hosted girls’ camps, added girls to his elite training programs, mentored players like Azzi Fudd, and launched the Curry Family Women’s Athletics Initiative to fund 200+ scholarships at Davidson College.

    Riley and Steph bumped into each other at an event where they caught up and took photos. She is now a high school athlete at Vintage High School in Napa, still playing basketball. And yes, still rocking Currys.

    This article originally appeared seven years ago. It has been updated.

  • Why Michelangelo’s ‘Last Judgment’ endures
    Photo credit: Sistine Chapel collection via Wikimedia CommonsMichelangelo’s 16th-century fresco ‘The Last Judgment.’
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    Why Michelangelo’s ‘Last Judgment’ endures

    A restored masterpiece still provokes awe and debate.

    Michelangelo’s fresco of “The Last Judgment,” covering the wall behind the altar of the Sistine Chapel in Vatican City, is being restored. The work, which started on Feb. 1, 2026, is expected to continue for three months.

    The Sistine Chapel is one of the great masterpieces of Renaissance art. As the setting where the College of Cardinals of the Catholic Church meets to elect a new pope, it was decorated by the most prestigious painters of the day. In 1480, Pope Sixtus IV commissioned Domenico Ghirlandaio, Sandro Botticelli, Pietro Perugino and Cosimo Rosselli to paint the walls. On the south are six scenes of the “Life of Moses,” and across on the north are six scenes of the “Life of Christ.”

    In 1508, Pope Julius II commissioned Michelangelo to paint the ceiling. The theme is the Book of Genesis, the first book of the Bible. The images show God creating the world through the story of Noah, who was directed by God to shelter humans and animals on an ark during the great flood. The ceiling’s most famous scene may be “God Creating Adam,” where Adam reaches out his arm to the outstretched arm of God the Father, but their fingers fail to meet.

    At the sides, the artist juxtaposed the male Hebrew prophets and the female Greek and Roman sybils who were inspired by the gods to foretell the future. It was completed in 1512; then in 1536, Michelangelo was asked to create a painting for the wall behind the altar. For this immense work of 590 square feet (about square meters), filled with 391 figures, he labored until 1541. He was then nearly 67 years old.

    As an art historian, I have been aware how, from the beginning, Michelangelo’s “The Last Judgment” sparked controversy for its bold and heroic portrayal of the male nude.

    Many layers of meaning

    Michelangelo liked to consider himself primarily a sculptor, expressing himself in variations of the nude male body. Most famous may be the Old Testament figure of David about to slay Goliath, originally made for the Cathedral of Florence.

    The artist’s ceiling for the Sistine Chapel had included 20 nude males as supporting figures above the prophets and sibyls. Originally, Michelangelo’s Christ of “The Last Judgment” was entirely nude. A later painter was hired to provide drapery over the loins of Christ and other figures.

    “The Last Judgment” scene also contains multiple references to pagan gods and mythology. The image of Christ is inspired by early Christian images showing Christ beardless and youthful, similar to the pagan god of light, Apollo.

    A section of a fresco shows a naked man bound by a coiling snake, and donkey's ears, surrounded by beastlike figures.
    Group of the damned with Minos, judge of the underworld. Sistine Chapel Collection, Michelangelo via Wikimedia Commons

    At the bottom of the composition is the figure of Charon, a personage from Greek mythology who rowed souls over the river Styx to enter the pagan underworld. Minos, the judge of the underworld, is on the extreme right.

    Giorgio Vasari, a fellow artist and historian who knew Michelangelo personally, later recounted the criticism by a senior Vatican official, Biagio da Cesena. The official stated that it was disgraceful that nude figures were exposed so shamefully and that the painting seemed more fit for public baths and taverns.

    Michelangelo’s response was to place the face of Biagio on Minos, the judge of the underworld, and give him donkey’s ears, symbolizing stupidity.

    A painted scene shows a bearded man holding a knife in one hand and a flayed skin with a human face in the other, while another figure sits just behind him.
    A detail of a scene connected to the Apostle Bartholomew in ‘The Last Judgment.’ Sistine Chapel Collection via Wikimedia

    Michelangelo included a reference to his own life in a detail connected to the Apostle Bartholomew, who is located to the lower right of Christ. The apostle was believed to have met his martyrdom by being flayed alive. In his right hand, he holds a knife and, in his left, his flayed skin whose face is a distorted portrait of the artist.

    Michelangelo thus placed himself among the blessed in heaven, but also made it into a joke.

    Thought-provoking imagery

    The Last Judgment is a common theme in Christian art. Michelangelo, however, pushes beyond simple illustration to include pagan myths as well as to challenge traditional depiction of a calm, bearded judge. He uses dramatic imagery to provoke deeper thought: After all, how does anyone on Earth know what the saints do in heaven?

    In these decisions, Michelangelo displayed his sense of self-confidence to introduce new ideas and his goal to engage the viewer in new ways.

    A digital reproduction of the painting will be displayed on a screen for visitors to the Sistine Chapel during this period of restoration. Behind the screen, technicians from the Vatican Museums’ Restoration Laboratory will work to restore the masterpiece.

    This article originally appeared on The Conversation. You can read it here.

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